1. History of Architecture - III
Kurdistan Region-Iraq
Tishk International University
Faculty of Engineering
Architecture Engineering Department
History of Architecture - III 09
Byzantine Architecture:
By:
Nizar Najim
Assistant Lecturer

2. History of Architecture - III 09. Byzantine Architecture:
9.1. Introduction:
Byzantium (renamed Constantinople by Constantine), was called "New Rome" by the Turks of Asia
The empire endured for more than a millennium, dramatically influencing Medieval & Renaissance and following the capture of Constantinople by the Ottoman Turks in 1453, leading directly to the architecture of the Ottoman Empire.

3. History of Architecture - III 09. Byzantine Architecture:
9.2. Influences:
9.2.1 Geographical:
Byzantium, occupies the finest site in Europe, standing on two promontories at the junction of the Bosporus and the Sea of Marmaris, like the other Rome in Italy, it rests on seven hills (figure 01).
It occupies an important commercial site, standing at the inter- section of the two great highways of commerce - the water high- road from the Black Sea into the Mediterranean, and the land high-road from Asia into Europe; a position which, from early times, gave it power and influence, especially over the corn trade carried on with the western merchants.

4. History of Architecture - III 09. Byzantine Architecture:
9.2. Influences:
(figure 01).

5. History of Architecture - III 09. Byzantine Architecture:
9.2. Influences:
9.2.2 Geological:
Constantinople possessed no good building stone or material for making good bricks, but, as far as possible available materials had to be employed.
Most of the Marble was brought from different quarries round Eastern Mediterranean, Constantinople was a marble working center from which sculptured marbles were exported to all parts of the Roman world.
75% of the colored marbles used in S. Sophia, and the other Churches and mosques in Constantinople, is Thessalian green (Verde Antico) (Figure 02).
The quarries were situated in different parts of the Empire, the monolith columns being worked by convicts in groups of sizes such as the quarry could produce.

6. History of Architecture - III 09. Byzantine Architecture:
9.2. Influences:
9.2.2 Geological:
(figure 02).

7. History of Architecture - III 09. Byzantine Architecture:
9.2. Influences:
9.2.3 Climate:
Owing to Constantinople being hotter than Rome, and to its being further east, the Romans on settling there altered their method of building to suit the novel conditions due to climate and their contact with Oriental arts.

8. History of Architecture - III 09. Byzantine Architecture:
9.2. Influences:
9.2.4 Religion:
Constantine first made Christianity the state religion. The political division that came to pass between East & West was followed by a separation of churches also.
This was due to the “Filioque controversy” as to whether the Spirit proceeded from the Father & Son or from the Father only; the Eastern Church claims to be the orthodox church.
The iconoclastic movement during the eighth and ninth century was in force and ended in the admission of painted figures in the decoration of churches, but all sculptured statues were excluded.
These and other points of difference in ritual have vitally affected eastern church architecture up to the present day.

9. History of Architecture - III 09. Byzantine Architecture:
9.2. Influences:
9.2.5 Social & Political:
Constantine removed the capital from Rome to Byzantium in A.D. 324, the latter city became a great commercial center on the trading highway between eats & west.
After his death, rival emperors troubled the state, and disputes in the church were widespread.
By the election of Charlemagne, chosen Emperor of the West in A.D. 800, the Roman empire was finally divided.

10. History of Architecture - III 09. Byzantine Architecture:
9.2. Influences:
9.2.6 Historical:
Byzantium is said to have been found in the seventh century B.C., and was a Greek colony as early as the fourth century B.C.
Byzantine architecture is that which was developed at Byzantium on the removal of the capital from Rome to that city.
It includes not only the buildings in Byzantium but also those which were erected under its influence, as at Ravenna and Venice, also in Greece, Russia, and elsewhere.

11. History of Architecture - III 09. Byzantine Architecture:
9.2. Influences:
9.2.6 Historical:
Ravenna became important owing to the Emperor Honorius transferring his residence there from Rome in A.D. 402.
After the fall of the western empire the town was taken by Odoacer, and in A.D. 493 Theodoric the great took the city, which, remaining the residence of the Gothic kings till 539, competing Rome in importance.
The Byzantine style was carried on until Constantinople fell into the hands of the Turks in A.D. 1453, when it became the capital of the Ottoman Empire.

12. History of Architecture - III 09. Byzantine Architecture:
9.2. Architectural Character:
The general architectural character depends on the development of the dome, induced by the adaption of circular and polygonal plans for churches, tombs, and baptistries, in contrast with the Romanesque style, which developed the vault in western and northern Europe.
In the course of 200 years the East proved itself, and under Justinian the Church of S. Sophia (A.D ) was erected, and remains the greatest achievement in the style. The interior being perhaps the most satisfactory of all domed examples.
Although no line can be stated as separation between Early Christian and Byzantine style, yet the Basilica type is characteristic of the former and the vaulted church with pendentives of the latter.
A Byzantine building consists generally of a brick carcass or “Shell”.

13. History of Architecture - III 09. Byzantine Architecture:
9.2. Architectural Character:
(figure 03).
The walls of this shell were finally sheeted internally with marble, and the vaults with colored mosaic on a golden back-ground.
In all church founded during this period, mosaic was intended to be employed, and the decoration of S. Sophia and the churches of Nicaea and Thessalonica show the perfection to which this was carried out.
The core of the wall was generally of concrete, as in the Roman period, but the manner in which the bricks of the casing were arranged contributed greatly to the decoration of the exterior.
They were not always laid horizontally, but sometimes obliquely, sometimes in the form of meander fret (figure 03), and in many other forms of similar design, giving great richness and variety to the façade, as may be seen in the churches of Thessalonica.

14. History of Architecture - III 09. Byzantine Architecture:
9.2. Architectural Character:
An attempt was made to render the rough brick exterior, by the use of bands and relieving arches of an ornamental character.
Byzantine art and influences were carried out westward by traders, and are found at S. Mark, Venice, S. Vitale, Ravenna, S. Front, Perigueux, and elsewhere, largely directing the architecture of these districts.
The dome is the prevailing motif or idea of Byzantine architecture, and had been a traditional feature in the old architecture of the East.
Domes were placed over square apartments, their bases being brought to a circle by means of “Pendentives” (Figures 04-10), whereas in Roman architecture, these features were placed over a circular apartment.

15. History of Architecture - III 09. Byzantine Architecture:
9.2. Architectural Character:
(figure 04).
(figure 05).

16. History of Architecture - III 09. Byzantine Architecture:
9.2. Architectural Character:
(figure 06).

17. History of Architecture - III 09. Byzantine Architecture:
9.2. Architectural Character:
(figure 07).

18. History of Architecture - III 09. Byzantine Architecture:
9.2. Architectural Character:
(figure 08).

19. History of Architecture - III 09. Byzantine Architecture:
9.2. Architectural Character:
(figure 09).

20. History of Architecture - III 09. Byzantine Architecture:
9.2. Architectural Character:
(figure 10).

21. History of Architecture - III 09. Byzantine Architecture:
9.2. Architectural Character:
Windows were in the lower portion of the dome, which in the later period was raised over a high circular drum, further decorated in the Renaissance period by the employment of a circular peristyle or colonnade.
In vaulting, porous (spongy) stones, especially pumice, were used; sometimes the domes were constructed of pottery, as at S. Vitale, Ravenna, placed side by side and grouted with mortar (Figure 11).
The architecture of the Byzantines was thus developed by the use of brick in the fullest manner, especially in domical vaulting.

22. History of Architecture - III 09. Byzantine Architecture:
9.2. Architectural Character:
(figure 11).

23. History of Architecture - III 09. Byzantine Architecture:
9.2. Architectural Character:
The grouping of the smaller domes round the larger central one was very effective externally (Figure 08), and one of the most remarkable characters of Byzantine churches was that the tunnel vault and the dome had no additional outer covering, but were visible externally (Figures 09), thus in no style does the elevation so closely correspond with the section as in the Byzantine.
The regular entablatures of the Roman were abandoned.
The classic orders were dispensed with, and the semicircular arches made to rest directly on the columns designed for the purpose.
The capitals, of which there are seven distinct types, four being in S. Sophia assume a novel form (Figures 12 & 13), appropriate to their new purpose of receiving the springers of arches.

24. History of Architecture - III 09. Byzantine Architecture:
9.2. Architectural Character:
(figure 12).

25. History of Architecture - III 09. Byzantine Architecture:
9.2. Architectural Character:
(figure 13).

26. History of Architecture - III 09. Byzantine Architecture:
9.2. Architectural Character:
Byzantines paid great attention to their mortar, composed of lime stone, sand, and crushed potteries, tiles or bricks.

27. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
Byzantine examples consist mainly of Churches & Baptistries.
Certain numbers follow the Basilica type, the majority are found on the circular and polygonal plans of the Roman & Early Christian period.
SS. Sergius and Bacchus, Constantinople (A.D. 527):
Erected by Justinian
Nearly square in Plan, being a rectangle of (109 x 92) feet over all
Has an interior arrangement similar to S. Vitale, but has 4 niches (Sanctuaries) only, and is enclosed in a square instead of Octagon. (Figure 14)

28. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
SS. Sergius and Bacchus, Constantinople (A. D. 527):
(figure 14).

29. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
S. Sophia (Hagia Sohia), Constantinople (A.D ):
Was built by order of Justinian, on the site of 2 successive churches of the same name:
The wooden-roofed basilica, erected by Constantine (A.D. 360)
The church erected by Theodosius (A.D. 415)
The Plan Consists of a central space (107 feet square) bounded by 4 massive piers (25 feet square) connected above by semi-circular arches, and supporting a Dome of 107 feet in diameter.
Outside this central area are aisles over 50 feet wide, in two stories, north & south, the upper story being for women (figure 14).

30. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
S. Sophia (Hagia Sohia), Constantinople (A.D ):
(figure 15).

31. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
S. Sophia (Hagia Sohia), Constantinople (A.D ):
These aisles bring the main building approximately to a square, which, excluding the apse and narthex, measures 250 feet by 237 feet.
The square central space is crowned with a dome, 180 feet above the pavement, but in itself only 47 feet in height above the base (less than a semi-dome).
The pendentives carrying the central dome have a projection of 25 feet and a height of over 60 feet.
The great piers supporting the dome are of stone, the rest of the building being of brickwork.

32. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
S. Sophia (Hagia Sohia), Constantinople (A.D ):
The walls and piers are lined with beautifully colored marbles:
Phrygian white
Laconian green
Lybian blue
Celtic black
White marble with black veins from the Bosporus.
Thessalian marble.

33. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
S. Sophia (Hagia Sohia), Constantinople (A.D ):
The floors are laid with colored mosaic of various patterns.
The vaults and domes are enriched with glass mosaic of the apostles, angles and saints on a glittering golden ground.
The columns of many colored marbles are used constructively to support the galleries which rest on a variety of groined (cross barrel) vaults.
The total number of columns in the church is 107 (the same number as the diameter of the church if feet).

34. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
S. Sophia (Hagia Sohia), Constantinople (A.D ):
The lighting is partly effected by forty small windows piercing the dome at its base.
Additional light is introduced through twelve windows in each of the spandrel walls, under the great arches which support the dome.
Externally, the walls are faced with brick & stone in alternate courses.
S. Sophia is the masterpiece of Byzantine architecture as the Parthenon is of Greek, or the Pantheon of Roma.

35. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
S. Irene, Constantinople (A.D. 740):
Originally constructed by Constantine and several times destroyed and rebuilt.
Interesting as preserving the Basilica plan of nave and 2 aisles with eastern apse and western atrium.
It has a dome which is believed to be the earliest examples, resting on a high drum pierced with windows to light the interior (figure 16).

36. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
S. Irene, Constantinople (A.D. 740):
(figure 16).

37. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
Theotokos Church, Constantinople:
Dating from the ninth to the twelfth century, is a small but perfect example, having a double narthex crowned with three domes, and a central dome over the church itself (figures 17, 18, & 19).
(figure 17).

38. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
Theotokos Church, Constantinople:
(figure 18).

39. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
Theotokos Church, Constantinople:
(figure 19).

40. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
Church of Chora, Constantinople:
Dating originally from the fourth century, is a small but subsequently much altered.
It has a central area crowned with a dome resting on a drum 26 feet in diameter, pierced by windows, and has semicircular windows on 3 sides and an apse on the fourth (figure 20).
It has an inner and outer narthex, ornamented with large mosaic decorations, hence it is now known as the “mosaic mosque”
It is supposed by some that the façade of this church served as a model for that of S. Mark, Venice.

41. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
(figure 20).
Church of Chora, Constantinople:

42. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
Church of the Holy Apostles, Constantinople:
Found by Constantinople the Great, but rebuilt by Justinian, and destroyed in A.D. 1463, to make way for the Mosque of Sultan Mahomet II (figure 21).
Was the 2nd type of Byzantine plan, and is interesting as being the prototype of S. Mark, Venice.

43. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
Church of the Holy Apostles, Constantinople:
(figure 21).

44. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
S. Vitale, Ravenna (A.D ):
The prototype was the Temple of Minerva Medica at Rome.
Octagonal on plan, an inner octagon of 50 feet being enclosed by an outer one of 110 feet.
The relation of the Chancel to the octagon is successfully designed.
The outer 7 arches of the inner octagon, have columns placed on a half circle, carrying the gallery usual in Eastern Churches.
The dome is composed of earthen pots, protected by a wooden roof, thus differing from Roman examples (figure 22 & 23).

45. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
S. Vitale, Ravenna (A.D ):
(figure 22).

46. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
S. Vitale, Ravenna (A.D ):
(figure 23).

47. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
S. Mark, Venice:
Was erected, for the most part, between A.D
The columns and marble mosaics to the exterior being added between A.D
Venice, was by situation one of the connecting links and a great traffic between East & West, which is evident in Venetian Architecture.
The plan is in the form of Greek cross, of equal arms, covered by a dome in the center (42 feet in diameter),
Derived from the Church of Holy Apostles at Constantinople.

48. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
S. Mark, Venice:
The square piers, which carry the dome, are pierced on the ground floor
The interior is richly veneered with colored marbles casing the lower part of the walls;
Above, & extending in one great surface over vault & dome, is a lining of a richly colored glass mosaic.
Mosaic, is the real and essential decoration of the church.
The external façade has 5 entrances, enriched with shafts of many-colored marble brought from Alexandria and the ruined cities of the East (figures 24 & 25).

49. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
S. Mark, Venice:
(figure 24).

50. History of Architecture - III 09. Byzantine Architecture:
9.3. Examples:
S. Mark, Venice:
(figure 25).

51. History of Architecture - III 09. Byzantine Architecture:
9.4. Byzantine Style:
The Byzantine style spread over Greece, Russia, and other parts, and has been the accepted style of the Greek church to the present day.
In Greece:
Buildings are small but perfectly executed, as may be seen in the Metropole Cathedral, the Church of the Kapnikarea, and other churches at Athens;

52. History of Architecture - III 09. Byzantine Architecture:
9.4. Byzantine Style:
In Russia:
Among the best known example are the Cathedrals of Moscow, Kieff, and Novgorod, all of which have a decided Eastern aspect, due to the use of bulbous-shaped domes and unusual details.

53. History of Architecture - III 09. Byzantine Architecture:
9.4. Byzantine Style:
In Armenia:
Also Interesting examples with local characteristics, such as the Church of S. Sophia, Trebizond.

54. History of Architecture - III 09. Byzantine Architecture:
9.5. Comparative:
Plans:
Byzantine churches are all distinguished by a great central square space covered with a dome, supported by means of pendentives.
On each side extend short arms, forming a Greek cross, which with the narthex and side galleries make the plan nearly square.
The Narthex was placed within the main walls.
Byzantine Church
Early Christian Basilica
The leading through is vertical, by the grouping of domes round a principal central one, towards which the eye is drawn.
The leading is horizontal, by means of the long perspective of columns, which direct the eye towards the apsidal termination.

55. History of Architecture - III 09. Byzantine Architecture:
9.5. Comparative:
Walls:
Often constructed with brick.
Internally, marble casing & mosaic being applied to the walls,
Externally, the buildings were left comparatively plain, although the façade was sometimes relieved by alternate rows of stone and brick, in various colors.

56. History of Architecture - III 09. Byzantine Architecture:
9.5. Comparative:
Opening:
Doors & Windows are semicircular headed, segmental & horse-shoe arched openings sometimes seen.
Windows are small and grouped together.
The employment of mosaic in Byzantine churches, and the exclusion of painted glass, rendered the use of large windows.
The churches depend largely for light on the ring of windows at the base of the dome, or in the drums, and on opening grouped in rows within the semicircular arch beneath the dome.
Portions of the windows are occasionally filled with thin slabs of translucent marble.

57. History of Architecture - III 09. Byzantine Architecture:
9.5. Comparative:
Opening:

58. History of Architecture - III 09. Byzantine Architecture:
9.5. Comparative:
Roofs:
Roofing was by a series of domes formed in brick, stone, or concrete, with frequently no further external covering.
In S. Sophia, the vaults are covered with an inch thick sheets of lead fastened to wood laths
Hollow earthenware was used in order to reduce the thrust on the supporting walls.
The Byzantines introduced the dome placed over a square or octagonal plan by means of pendentives.

59. History of Architecture - III 09. Byzantine Architecture:
9.5. Comparative:
Columns:
In early buildings, columns were taken from ancient structure.
Capitals sometimes took a form derived from the Roman Ionic or Corinthian type
An altered shape of capital was required to support the arch, a convex form being best adapted.
Capital surfaces were carved with engraved plant leaves of sharp outline, having drilled eyes between the leaves.
Columns were used constructively, but were always subordinate features, often introduced to support galleries, the massive piers alone supporting the superstructure.

60. History of Architecture - III 09. Byzantine Architecture:
9.5. Comparative:
Moldings:
Were unimportant.
Internally, the decorative lining of marble & mosaic was sometimes framed in moldings, probably derived form the classic dentils, enriched by engraved ornamentation were used.
Externally, the simple treatment of the elevations in flat expanses of brickwork, with occasional stone banded course, did not leave the same scope for moldings as in other styles.

61. History of Architecture - III 09. Byzantine Architecture:
9.5. Comparative:
Ornament:
Wall being lined with costly marbles carefully arranged so as to form patterns.
Vaults and upper parts with mosaic having symbolic figures
Mosaic was used in a broad way as a complete lining to a rough structure, and architectural lines were replaced by decorative bands in the mosaic.
Greek rather than Roman techniques was followed in the carving, due to the origin of the craftsmen.

62. History of Architecture - III 09. Byzantine Architecture:
9.5. Comparative:
Ornament:
The carving was mainly executed in low relief, and effect was frequently obtained by sinking portions of the surface.
A special character of the carving was due to the use of drill instead of the chisel.
The great characteristics of Byzantine ornament, is that the pattern is incised instead on seeming to be applied.
Grecian and Asiatic feeling strongly pervades Byzantine ornamentation, and this is accounted for by the fact that Constantinople was a Greek city, and in close contact with the East, and oriental method.

63. History of Architecture - I 09. Byzantine Architecture
9.6. References:
1. Ching, Francis D.K., “A Global History of Architectural”, Second Edition, John Wiley& Sons, Inc., Hoboken, New Jersey, 2011
2. Fletcher, Banister, “A History of Architectural on the Comparative Method”, Fifth Edition, Pradbury, Agnew & Co. Limited Printers, London, 2011
3. KOSTOF SPIRO, “A History of Architecture: Settings and Rituals”, Oxford University Press, USA, 1995
4. Mansbridge, John, “Graphic History of Architecture”,
Hennessey & Ingalls, 1999